165 Mozart’s Use of Horns in B and the Question of Alto-Basso in the Eighteenth Century Paul R. Bryan 1. Introduction Twenty-five years ago I published an article comparing the use of horns by Wolfgang Amadeus Mozart and Joseph Haydn.1 Among the more specialized aspects addressed was the question of high (alto) versus low (basso) horns in B . It had previously been raised by H.C. Robbins Landon, who had expressed his opinion that in Haydn’s early symphonies all B horns were high, i.e., alto.2 He believed that Haydn’s pre-London-period horn parts in B should, therefore, always be performed in the upper octave, a step below written pitch, rather than, as commonly accepted, a ninth below. Subsequently, Landon added “alto” to all the B horn parts that he edited and published in such important series as the complete symphonies of Haydn—as well as those of other composers. My judgment at that time was that in such situations an editor’s opinions might be stated, but that only the composer’s designation should be published in the score. Landon’s contention, the acceptance of which markedly impacts the sound of Haydn’s orchestra, also influenced the judgments and performances of other scholars and performers. Since 1955 his opinion has gradually been accepted even by a number of specialists on Mozart, with the result that editions of several works published in the Neue Mozart-Ausgabe (NMA), as well as many performances and recordings3 of Mozart’s compositions, have been affected. Authority for the appearance of Corni in B alto in many of the NMA editions is not acknowledged in the text that accompanies them, so that it is now difficult to tell what Mozart himself intended. Autograph and authentic sources show, however, that Mozart composed for horns in both alto and basso settings. In 1774 he composed parts for horns in B alto and thereafter did so more than thirty times. In a work of 1775 he confused the issue somewhat by writing a set of parts for horns in B basso. In Così fan tutte (1790), however, he left no doubt of his meaning by carefully specifying all his B horn parts as either alto or basso, thereby making it possible to distinguish his intentions and procedures. Based on a recent study of the horn parts in Mozart’s orchestral music, this article shows that his writing for horns in B is in general similar to that for horns in other keys, and more specifically, demonstrates how he distinguished horns in B alto stylistically from those in B basso. 166 HISTORIC BRASS SOCIETY JOURNAL 2. The sources for information on horns in B The history of the horn and its acceptance into the eighteenth-century orchestra is difficult—even impossible—to trace. The change in musical style from the contrapuntal compositions of the Baroque to the melody-with-accompaniment pieces of the early Classical period is, however, especially evident in the writing for winds. The difference between the inconsistently used variety of wind instruments added to a string choir in contrapuntal style, as in J.S. Bach’s Brandenburg Concertos, and the harmonic chordal-functioning wind quartet added to the strings in early classical works such as Haydn’s Symphony Hob. I, 1/107 (25 November 1759) is obvious. Unfortunately, few written reports have been found that document changes for the approximately 100 years from 1680 to the mid-1780s when the presence of horns in B alto and B basso became well established, at least in Vienna and Salzburg. The principal primary sources of information are theoretical works by Johann Mattheson, Jos. F.B.C. Majer, E.L. Gerber, and Valentine Roeser. Mattheson, in Das Neu-Eröffnete Orchestre (1713),4 is a bit obscure, but he seems to say that the most useful (practical) horns are in F, and that they share the same ambitus/compass as the (“shrieking”) clarino in C, although the horn can sound a whole fifth lower than the clarino. He further states that horns have been accepted in music for church and theater, and that he prefers the horn’s darker sound and its superior ability to “fill out” the harmony. Mattheson’s description makes no mention of crooks or of C alto (or B alto) that would imply a high-low comparison between horns. Jos. F.B.C. Majer’s Neu eröffneter Theoretisch- und Practisher Musik-Saal (1732) repeats the first three sentences of Mattheson’s commentary and adds, “moreover, such horns can be tuned higher or lower by means of shanks or crooks.” E.L. Gerber’s remarks on das Waldhorn are buried in the middle (col. 547ff.) of an article entitled “Sporken” [Franz, Anton von Graf] in his Historische-Biographisches Lexikon der Tonkünstler (1791-92). The article outlines the early history of the orchestral horn, mentioning that “Herr Reinert of Ludwigslust5 brought a pair of these [Inventionshorns] with him to this Court [i.e., van Sporck’s] as early as 1757; and they had crooks for the keys of B , C, D, E , E, F, G, A, and B alto. He had them made by Werner in 1755.” A translation of Gerber’s lengthy article is included as an appendix to Horace Fitzpatrick’s The Horn and Horn Playing.6 Gerber verifies that both B alto and B basso horns existed in 1755 and quite likely earlier. The fourth primary source, Valentine Roeser’s Essai d’Instruction (1764)7 is an instruction book in orchestration; it describes for students the use of wind instruments. Roeser discusses hand-stopping and limits his discussion to horn in C sol, ut; D la, re; E si, mi ; F ut, fa; G re, sol; A mi, la; B fa, si ; and C sol, ut. There are two horns in C: bas (low) and haut (high), whereas the one in B is in the upper octave, but it is not called haut or alto. The failure to mention the B basso horn could have shown, but not without question, that in 1764 the B horn in Paris was equated with B alto, i.e., in the upper octave and sounding one step below written pitch. BRYAN 167 Later eighteenth-century references to B horns in the orchestra8 date from the 1780s and after, when both B alto and B basso horns were in common use. Although theorists such as Domnich mention B alto and B basso horns frequently, other nineteenth-century writers seem not to have discussed the question of alto versus basso. Nor was that subject pursued by twentieth-century writers, even though the horn held great fascination for a number of enthusiasts, especially in England, where men such as Reginald Morley-Pegge and Horace Fitzpatrick passionately studied many aspects of the horn. They published studies on instruments, mouthpieces, and mutes that survive in European collections and on practical problems of performance. They also discussed the specialized techniques developed by virtuoso performers, who were able by means of hand-stopping to free the horn from its limitations to the notes of the harmonic series and to perform remarkable melodic passages infused with chromaticism. These authors, with the information available to them through reading historical material, examining available instruments, and studying the music itself, were able to elucidate the situation post-1780. They were stymied, however, by the lack of written source material relating to earlier developments, beginning when the horn was essentially a melodic soloist added to the strings (or doubling the voices of the chorales as in J.S. Bach’s cantatas), and the Classic-period orchestra, wherein its function was primarily static and harmonic. Horace Fitzpatrick, in an article published in 1964,9 summed up the situation regarding the contemporary study of the horn: “We are concerned not with one style of horn-playing which is applicable equally to both halves of the eighteenth century, but rather two which were separate and distinct both with regard to technique and instrument (I am assigning the most general dates to the Classical [after 1750] and Baroque [before 1750] eras of horn-playing in order to simplify the frame of reference and clarify the problem).” On page 56 Fitzpatrick writes, “I have devoted a large part of this background discussion to the Baroque phase of the horn’s history because it is the period about which least is known. The hand-horn phase, covering roughly the period from 1750 to 1830, or the death of Beethoven, is more generally familiar … I hasten to add … that there are still a great many problems in eighteenth-century horn-playing history to which no one knows the solutions, and there is still a vast amount of work to be done in this field.”10 Fitzpatrick might have added another caveat: that he and his colleagues had concentrated on the horn, but not on the process whereby it was introduced into the orchestra. They had not, therefore, discussed in print the question of B alto vs. B basso horns at any length. Regarding crooks and keys particularly, he wrote that “early in the century … [there was an] orchestral model [horn] with fixed mouthpiece … [crooked] in various keys … examples in B alto, G alto, F, D and C survive, F being the most popular key.”11 But the statement is so vague, especially with its mention of horn in G alto (an instrument encountered rarely, if ever), as to be hardly acceptable as a useful reference tool for dating or even as evidence that B alto horns existed. Reginald Morley-Pegge12 implies the existence of B basso by reporting a “single-coil grosses Jagdhorn in B ” dated 1689, and that the orchestra for Lully’s opera Princess d’ 168 HISTORIC BRASS SOCIETY JOURNAL Elide contained a horn “the length of a horn in B basso.” Later (p.